Search Results for "algerian"

Directed by Pierre Clément and Djamel-Eddine Chanderli, produced by the FLN Information Service in 1958, this film is a rare document. Pierre Clément is considered one of the founders of Algerian cinema. In this film he shows images of Algerian refugee camps in Tunisia and their living conditions. A restored DVD version released in 2016, from the 35 mm original donated by Pierre Clément to the Contemporary International Documentation Library (BDIC).

Djamila, a young Algerian woman living with her brother Hadi and her uncle Mustafa in the Casbah district of Algiers under the French occupation of Algeria, sees the full extent of injustice, tyranny and cruelty on his compatriots by French soldiers. Jamila's nationalist spirit will be strengthened when French forces invade her university to arrest her classmate Amina who commits suicide by ingesting poison. Shortly after the prominent Algerian guerrilla leader Youssef takes refuge with her, she realizes that her uncle Mustafa is part of this network of anti-colonial rebel fighters. Her uncle linked her to the National Liberation Front (FLN). A series of events illustrate Jamila's participation in resistance operations against the occupier before she was finally captured and tortured. Finally, despite the efforts of her French lawyer, Jamila is sentenced to death...

It's the unforgivable story of the two hundred thousands harkis, the Arabs who fought alongside the French in the bitter Algerian war, from 1954 to 1962. Why did they make that choice? Why were they slaughtered after Algeria's independence? Why were they abandonned by the French government? Some fifty to sixty thousands were saved and transferred in France, often at pitiful conditions. This is for the first time, the story of this tragedy, told in the brilliant style of the authors of "Apocalypse".

In a single static shot a man is threatened with death at another's gunpoint.

Has everything really been said about the Algerian war? Although the archives are opening up, almost fifty years after the signing of the Evian Agreements (March 18, 1962), direct witnesses are beginning to disappear. They are, however, unique bearers of history, often the only ones able to illustrate the harsh reality of a long-hidden period. Gérard Zwang, surgeon of the contingent between May 1956 and June 1958, is one of these essential witnesses who help us discover an original history of the Algerian War. During his service, in charge of treating the most atrocious wounds of his fellow soldiers, he sees the war from the side of its victims. He did not fight with a machine pistol in his hand, but behind the closed doors of an operating room where life gives way to death in a matter of seconds.

In the aftermath of the Algerian War, a young Algerian woman reaches a strange reconciliation with the Senegalese officer who raped and impregnated her.

Roberto Muniz, nicknamed "Mahmoud the Argentinian," was a revolutionary fighter who joined the National Liberation Army in 1959 to support the Algerian cause in the war of independence against France. He joined a clandestine group that manufactured weapons and ammunition to be transported to Algeria to support the revolution that began in 1954. After the war, the Algerian government invited the mujahid to stay, an offer he accepted to begin a new life as an employee of Sonnelgaz and a member of the General Union of Algerian Workers (UGTA), accompanied by his wife Alfonsa, a textile union activist who came from Argentina to join this North African adventure.

A French historical documentary that retraces the events leading up to Algeria's war of independence from 1954 to 1962, based on archive footage and testimonies from key players of the period.

In response to the call of the Front de libération nationale (F.L.N., the National Liberation Front), thousands of Algerians from Paris and its surroundings march on October 17, 1961, to protest against the curfew imposed on them. This peaceful demonstration will be violently put down by the police. 50 years on, the filmmaker sheds light on this still taboo subject. Blending testimony and unseen archive footage, history and memory, past and present, the film relates the different stages in these events and reveals the strategy and methods applied at the highest level of the French state: manipulation of public opinion, the systematic challenge of every accusation, the censoring of information in order to prevent investigation.

With the intention to represent all points of view, this documentary tackles the eight years of the "Algerian war" or "War of Liberation" head-on through the accounts of those who experienced it. 25 witnesses, civilians and soldiers of both camps, deliver their perceptions of the conflict and help to explain the multiple facets of this war.

In Larbi Ben M’Hidi street, in Algiers, Farouk Azzoug and his son own a nomad kiosk where they sell old postcards and reproduction of archival photographs. Many different images constitute this fund, going from the late 18th century until the 1980’s. There can be found original postcards, of genre scene or architecture, art deco commercials for the railways, and also photographic reproductions of important political figures from or coming to Algeria. This eclectic collection - good neighborly displayed under plastic - brings us into a colonial and postcolonial iconography. It appears to be classified randomly but it allows many associations, as a kind of Algerian Atlas Mnemosyne. Over the images of the kiosk and different locations in the city, we can hear the voices of inhabitants of Algiers, historians, writers, students, who explain their connection to these images and to the history of their country.

Starting from a small kiosk of old postcards as a derisory memorial of Algerian history, the visual artist questions the role of images - or the absence of images - in the representation of the colonial heritage of Algeria, of decolonization and the dark years… in short, in the construction of his national novel. In three separate chapters, Katia Kameli delivers a reflection on the making of images or symbols (the flag!). In the enlightened company of the philosopher Marie-José Mondzain and extracts from films by Assia Djebar, she begins a critique that goes beyond the Algerian framework on our relationship to the stories, ideologies and images that shape them.

It is 1995. In a district in the suburbs of Algiers, 12-year-olds Samia and Nouara enjoy a happy friendship until violence suddenly appears in their life and tests their bond. With a background in documentaries, Amal Blidi creates an intense first fictional short film that uses the prism of adolescence to sensitively allude to the “Black Decade” and the end of innocence.

In Algerian Novel - chapter 2, French philosopher Marie-José Mondzain reinterprets Algerian Novel - chapter 1. The film’s nested structure is a way to keep images and their symbolic load at a distance. It opens a new space of negotiation wherein new associations can be shaped. They function as a starting point for the writing of a history in movement and produce narratives which then become touchstones for a new kind of historicisation. In the second part of this second chapter, Mondzain analyses another visual material: that of the rushes recorded during the shooting of the first chapter. These rushes could have been left invisible, or rather 'unseen'- the same way some of the Algerian’s historical figures are not represented on the pictures of the kiosk. In her book, L’image peut-elle tuer? [Can the image kill?], Mondzain defines the 'unseen' as what is waiting for meaning in the community debate. The unseen would then be a sort of unexploited archive, waiting for the gaze to expand.

The Hirak protests appear as a counterpoint to the investigations conducted throughout the film, and seem to provide the gateway to the exploration of hidden memories. Through a discussion on Louiza Ammi's photographic work, this chapter is an opportunity to rectify the iconographic absence of the Black Decade, which is mentioned in the first two parts. The analysis of sequences from the Assia Djebar's movie La Nouba des femmes du mont Chenoua, by Ahmed Bedjaoui, producer and film critic, feeds into this historical reinvestment. This film, which is symbolic of the beginnings of post-decolonization Algerian cinema, reappropriates the writing of history through the prism of women of different generations, whose words embody a memory that is too often overshadowed.

The Algerian is an international political thriller about the colliding worlds of the Middle East and America. It follows Ali (Ben Youcef) across the world from Algeria to New York, Las Vegas and Los Angeles as it reveals he is a sleeper cell part of an international plot.

The construction of a pipeline from the Sahara to the Mediterranean Sea.

The real life story of Henri Alleg, a French-Algerian journalist, director of the "Alger républicain" newspaper, and a member of the French Communist Party. This is a film as Alleg revisits Algeria in 2003 after he was arrested on suspicion of undermining the power of the state by France's 10th Paratrooper Division in the home of his friend, mathematics professor Maurice Audin, who was arrested the day before and would later die under questionable circumstances while imprisoned. Alleg underwent one month of torture in El-Biar, a suburb of Algiers, despite the fact that no charges had been laid against him.

Hand-painted short of a few people dancing.

No description available for this movie.

1956. Algeria is a French colony. Fernand and Helene are madly in love. Fernand is an activist, fighting for independence alongside the Algerians. Helene is fighting for Fernand’s life. History will irrevocably change the course of their destiny.

Paratrooper commander Colonel Mathieu, a former French Resistance fighter during World War II, is sent to Algeria to reinforce efforts to squelch the uprisings of the Algerian War. There he faces Ali la Pointe, a former petty criminal who, as the leader of the Algerian Front de Liberation Nationale, directs terror strategies against the colonial French government occupation. As each side resorts to ever-increasing brutality, no violent act is too unthinkable.

When his mother dies, Zino decides to look for his father, Farid. But twenty-five years ago, Farid became Lola.

Algerian children, survivors of the war and refugeeing in Tunisian camps, recount the tragic events they have experienced, from drawings they have made themselves.

George, host of a television show focusing on literature, receives videos shot on the sly that feature his family, along with disturbing drawings that are difficult to interpret. He has no idea who has made and sent him the videos. Progressively, the contents of the videos become more personal, indicating that the sender has known George for a long time.

Hasan Youssef plays Mohsen, a doctor who is in love with a nurse named Mona (Warda Al-Jazaria). They hope to marry soon, however Mohsen's father refuses to allow the marriage: he has promised his son to the daughter of a wealthy benefactor, to settle a long standing debt. In order to convince the father to allow their marriage, Mohsen asks Mona to work as his father's private nurse and work to win him over.

The story of the film revolves around the epic of Sheikh Bouamama, a leader of the national resistance in Algeria during the French colonial era. The events are taking place in southwestern Algeria. The film also tells about different stages of the resistance, especially about one of the uprisings of the Algerian people, namely "the battle of the sons of Sidi Sheikh Bouamama", in which French General Leuti was appointed to try to suppress and end this resistance.

While he tries by all means to stay out of the bloody upheavals caused by the battle of Algiers, Hassan, an honest and naive father, unknowingly offers hospitality to a mujahid actively sought by the army. French. A series of events and misunderstandings quickly catapult him to the forefront, presenting him under the pseudonym “Hassan Terro”, a great fictitious terrorist who would have sworn the doom of the French army...

The story of an Algerian family trying to be like everyone else, enjoying a house and having fun in life, especially when the mother insists on buying a car, but the father refuses to do so. The mother intervenes in a strike to talk and eat until the car arrives, The father reluctantly agrees to buy it, so the mother gets up and rushes to the dining table and begins the adventure with this car in a satirical comedy atmosphere where she is exposed to many flaws along the way and intervenes every time their neighbor repairs it because he has fallen in love with their daughter, but her mother opposes it.

In 1967, Visconti came to Algiers for the filming of The Stranger with Mastroianni and Anna Karina. Camus, during his lifetime, had always refused to allow one of his novels to be brought to the screen. His family made another decision. The filming of the film was experienced in Algiers, like a posthumous return of the writer to Algiers. During filming, a young filmmaker specializing in documentaries Gérard Patris attempts a report on the impact of the filming of The Stranger on the Algerians. Interspersed with sequences from the shooting of Visconti's film, he films Poncet, Maisonseul, Bénisti and Sénac, friends of Camus, in full discussions to situate Camus and his work in a sociological and historical context. “The idea is for us to show people, others, ourselves as if they could all be Meursault, or at least the witnesses concerned to his drama.”

A meticulous chronicle of the evolution of the Algerian national movement from 1939 until the outbreak of the revolution on November 1, 1954, the film unequivocally demonstrates that the "Algerian War" is not an accident of history, but a slow process of suffering and warlike revolts, uninterrupted, from the start of colonization in 1830, until this "Red All Saints' Day" of November 1, 1954. At its center, Ahmed gradually awakens to political awareness against colonization, under the gaze of his son, a symbol of the new Algeria, and that of Miloud, half-mad haranguer, half-prophet, incarnation of Popular memory of the revolt, the liberation of Algeria and its people.

Frantz Fanon, a French psychiatrist from Martinique, has just been appointed head of department at the psychiatric hospital in Blida, Algeria. His methods contrast with those of the other doctors in a context of colonization. A biopic in the heart of the Algerian war where a fight is waged in the name of Humanity.

In 1971, the Algerian government nationalized hydrocarbons. The consequences of this decision on the community of Algerians in France are numerous. The Galti family is prey to these economic problems. The father, Khaled, former member of the F.L.N. in France, does not escape the sentence. Sharazade, his wife and comrade in combat, finds herself torn between her role as wife, mother and nostalgia for a country and a bygone past. As for his son Karim, a victim of socio-cultural division, all he has left is refusal.

Nine people with Abdullah Le Clandestin (Illegal Taxi), in one car, on the way to Algiers.

The film revolves around the life of the martyr Mustapha Ben Bouleid (1917-1956), who was a member of the Algerian National Movement, who worked with his comrades to explain the idea of the armed revolution in which he led in Aures region in 1954. The film depicts how Ben Bouleid traveled to a number of Arab countries Disguised to bring arms to Algeria for the revolution and how the French colonial forces arrested him in the Tunisian-Libyan border, and from there to Algeria to be sentenced to death.

1943. They have never stepped foot on French soil but because France was at war, Said, Abdelkader, Messaoud and Yassir enlist in the French Army, along with 130,000 other “indigenous” soldiers, to liberate the “fatherland” from the Nazi enemy. Heroes that history has forgotten…

In a working-class immigrant neighborhood slated for demolition, Jo, the son of Ali, known as the Rescuer from the Algerian war, lives idle and delinquent, committing small assaults to pay for his drugs. One day, while attacking Slim's bar, he is arrested by Ben, a young beur cop torn between his roots and the imperatives of his mission to maintain public order. Giving in to the respect and friendship he feels for Ali, Ben agrees to release his son. But alas, far from calming down, Jo drifts deeper into violence, until the inevitable drama.

1/4 - In 1925, the young M’hamed El Anka replaced his master Nador at short notice. He realizes that he is far from mastering all the instruments of his art and begins a self-taught training program in Oud, the Arabic language, and religious singing in the hadra of Sidi Abderrahmane. 2/4 - In 1932, the young El Anka released 10 45 rpm records in Paris, including the first song from his composition "L'Exil". He is gradually “lightening” the Andalusian heritage. He made the pilgrimage to Mecca and wrote the famous song "El Mendouza". 3/4 - The 40s and 50s will confirm the maturity of the master, who consolidates the constituent elements of what is today called Chaâbi music. In the midst of the national liberation struggle, El Hadj M'hamed El Anka triumphs with the song "Youm El Djemâa". 4/4 - In 1962, El Anka sang of independence: "El hamdou lilah, mabqach listaâmar fi bledna". Activist, poet and musicologist Bachir Hadj Ali explains the artist’s exceptional style.

In the middle of the Algerian war, Elise, from Bordeaux, “goes” to Paris to join her brother to earn her living in an automobile factory. There she meets Arezki, an Algerian nationalist activist with whom she falls in love. A chronicle of working life at the time and which highlights the extent of police repression against Algerians.

During a harsh Montréal winter, an elementary-school class is left reeling after its teacher commits suicide. Bachir Lazhar, a charismatic Algerian immigrant, steps in as the substitute teacher for the classroom of traumatized children. All the while, he must keep his personal life tucked away: the fact that he is seeking political refuge in Québec – and that he, like the children, has suffered an appalling loss.